MAM
Goodknight launches new TVC for Fabric Roll-On
MUMBAI: Goodknight has launched a new TVC for its Fabric Roll-On, highlighting the concern of family members when children go out to play in the evening and are vulnerable to mosquitoes and diseases such as dengue and malaria.
Goodknight Fabric Roll-On is a personal mosquito repellent. It is made using 100 per cent natural and plant-based ingredients such as citronella and eucalyptus oils and is applied on clothes, not skin. By just applying four coin-sized dots on your clothes, you can stay protected for up to 8 hours outdoors.
Godrej consumer products CEO India and SAARC Sunil Katatria said, “While there is an alarming rise of vector-borne diseases like Malaria and Dengue in the country, there is also a lack of awareness that the mosquitoes that spread these diseases usually bite during the daytime when children are usually out of the protected zones of their homes. Our core focus is to let children have a happy childhood outdoors which makes them “champions” in their lives by protecting them from mosquitoes while they play.”
The TVC describes an Indian family stopping their daughter from playing cricket. The grand-mother, grand-father and father express their concern of her getting bitten by mosquitoes and contracting malaria or dengue if she goes to play. The mother, in this case, supports her daughter’s decision of outdoor play being assured that Goodknight Fabric Roll-On will protect her. The TVC highlights how the Goodknight Fabric Roll-On is effective in repelling mosquitoes and enabling kids to go out and play and become “champions”.
JWT Mumbai vice presidents and executive creative directors Priya Pardiwalla and Steve Mathias said, "Every mom knows the importance of playing outside every evening. Of rather not being trapped by the videogame or television. However sometimes she has to say NO and stop her kids from stepping out especially during times of high mosquito infestation such as a dengue epidemic. But now Goodknight Fabric Roll-On, a truly non-intrusive innovation empowers moms to do one of the most difficult things ever – saying YES and allowing their kids to play outside, to learn and explore without worrying about mosquitoes. The commercial is centred around a mother who encourages her kid to go out and knock it out of the park, while the rest of the family is concerned, stressed and worried about mosquitoes outside."
The creative ends with a great message for kids that if they want to become champions and win, they have to venture out of their homes without the fear of mosquitoes.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
